Metropolitan Opera tends to have classic works with fresh faces in spring 2025
The closure of opera houses caused by the Covid-19 pandemic has led to audience attendance that many companies are still struggling, especially in the U.S. response, with the Metropolitan Opera general manager Peter Peter Gelb launching a plan to expand the company’s new work, but responding to the company’s public response. The most common strategy in Metropolis and elsewhere is to address sagging attendance. The most common is that it greatly increases the number of performances of traditionally most popular operas, especially those of Mozart, Verdi and Puccini.
The current metro season has been dominated by familiar titles, including the company’s new 17 performances Aidaadd nineteen LaBohème and Seventeen Rigoletto. Both Tusca and Le Nozze di Figaro Thirteen times have been completed, il barbiere di siviglia There are only twelve. Many faithful operators are frustrated by the classic’s complete retreat, but perhaps in response, the Metropolitans pay special attention to showing them unusually interesting singers and conductors, as demonstrated by the iterations of late seasons Aida,,,,, Nozze,,,,, Babier and Bohèmewhich includes some beautiful debuts and rewards.
Michael Mayer’s new drought Aida The debut on New Year’s Eve, but reappeared much more in late April and found Angel Blue in the form of increasing confidence. This time, she is surrounded by Brian Jadge’s familiar Clarion Radamès, especially the reappearance of Mongolian baritone Amartuvshin Enkhbat, the commander of superstar Elina Garanča and most effectively, a charming Amneris. Latvian Mezzo, usually considered a cool achievement artist, performed so well that long and loud cheers greeted her enthusiastic trial scenes.
https://www.youtube.com/watch?v=-m06yn4cqsm
Following the first series, a group of new principals took over Mozart’s Nozze di Figaroincluding the luxury countess with American soprano Jacquelyn Stucker, is more active in the comic conspiracy than her predecessor, Patrician Federica Lombardi. Although nerves may have caused the rock’s “Porgi Amor”, Stucker reveals an interesting smoky soprano that easily rises to bright highs in the poignant “Dove Sono.” Unfortunately, she paired with Adam Plachetka’s weird Count, whose increasingly tough bass – baricone makes his persistent presence in the Metropolitan Mozart’s work difficult to understand.
The newlywed servants are much more paired, and Luca Pisaroni’s familiar Figaro is delighted in his new Susanna (Fellow Italian Rosa Feola), whose passionate stereotypes are not betrayed by Soubrette Brittleense. Her seductive tempting “Deh Vieni Non Tardar” proved the highlight of the night and was welcomed by the audience’s greatest applause. Commander Joana Mallwitz once again leads her second cast, responding to comics’ Richard Eyre with engaging enthusiasm, nothing more than Emily D’Angelo’s horny cherubino singing Roguish’s charm.
The second time the actor called Rosini’s Barbiere di Siviglia,,,,, Nozze“Prequel” in the first and best point production of Bartlett Sher’s effervescent on May 16. It brought the debut of two companies: American tenor Jack Swanson as Count Almaviva and Hungarian bass – Peter Kálmán as Don Bartolo. The latter brings far more sounds than usual, while clichés are much less than Rosina’s role as a guardian without inferiority. Although Giacomo Sagripanti, the fashionable new conductor, set a breathless rhythm for the “United Nations Order Deller Mia”, Kálmán handled the strategy with a very anger.
Swanson is tall and handsome, leaving a bigger impression on people. When his Count begins, he uneasyly serenades Rosina, relaxing, truly fun in his duo disguised as drunken soldiers and faux music teacher Don Alonso. But Swanson seized on the current trend, including the extended, irrelevant scenes of counting near the opera’s doomsday, but its elaborate Coloratura shows that the tenor has not unlocked the secret to make it sound smooth and relaxed.
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Moldova baritone Andrey Zhilikhovsky has not returned to the Metropolitan since his debut in 2019 LaBohèmebut he returns with an uneasy Livewire Figaro, who vigorously tries to rule his opera of the same name. His bold “Largo Al Factotum” shows that his solid baritone belongs to the metropolis, and if his Coloratura isn’t a special Suave, it’s still easier to move than the Swanson. Russian baritone Alexander Vinogradov (retained from the premiere actor), usually in the Metropolis Aida or wurm in Luisa Millerwith Don Basilio as his outstanding comic-like talent, he cleverly underestimated “La Calunnia”.
Berta’s Aria Di Sorbetto is often quietly passed, but the brightly agile, beautifully decorated rendition of soprano Kathleen O’Mara shows that the young winner is a popular metropolis. But the most important thing is Babier Reiterate that Aigul Akhmetshina is one of the brightest new stars today. Her charming Carmen Last season was Carrie Cracknell’s unfortunate new center CarmenAlthough this time, her sly anarchic Rosina is filled with witty energy and monstrous uptiullous glitches, from the opposite low point of thriving to the stunning high D, stimulating her urgent “contro contro un cor”. Her relaxed chemistry with Swanson and Zhilikhovsky and her naughty ridicule of Kálmán tied this particularly pleasant Rossini Romp together.
https://www.youtube.com/watch?v=tqqdegjmsmo
Fourth of the season Bohème In the May 25 consistency, the actors gathered. Although they may have little rehearsal, they exuded a simple friendship that suggested that they unite Puccini’s young crew multiple times. There was only the occasional willfulness between the stages, and Yannick Nézet-Séguin’s passionate Baton betrayed this was their first voyage. When the arranged commander Riccardo Frizza retreated, Nézet-Séguin stepped in to the first of the actor’s four performances, and Sagripanti took over the remaining three.
Most of the interest in this later period Bohème American soprano Corinne Winters Rigolettothis role is also the metropolitan debut of Dawn Upshaw and Sondra Radvanovsky. Winters has recently become a major European star, especially due to her writings on the heroine Janáček.
As a modest tailor, Winters brings a slim soprano of a vibrant top and creates a painful portrayal. Amid her troubles with “Mi Chiamano Mimi”, Winters bursts into spring with Mimi’s ecstasy – “Ma Quando vien lo Sgelo”, due to a fragile optimism for her fragile death. She makes Mimi’s intense desire for love make the duo “O Soave Fanciulla” and Café Momus scene convey the desperate happiness she knows.
In Act III, her encounter with Marcello, and then Rodolfo shows that a woman is painfully aware of her illness. While Anthony Clark Evans is the enthusiastic and friendly Marcello of struggling Mimi, Dmytro Popov, who has been singing on the Mets since 2016, seems to be more focused on the treble notes to the family circle. His totally bland attitude toward certain of the opera’s deepest romantic music has done both winter and Puccini.
https://www.youtube.com/watch?v=kpaclnf4g7u
Hungary debut – Romanian Bess Alexander Köpezi offers the victory Colline, but the biggest impression of four Bohemian roommates comes from Sean Michael Plumb’s zealous Schaunard, who has sleek every look. The production of the 1981 honorable Franco Zeffirelli asked it to make its own wonder incredible during Act 2, but Gabriella Reyes’ views were even more vulgar than most. Her excessiveness continues in the third act, so much so that Musetta is generous with the dying Mimi in the final act. Her huge, bright soprano also ruined her singing with persistent tremolo.
As these popular revivals show, the Metropolitan Metropolitan will struggle to fill its long-standing classics with fresh, important casts, and even the most seasoned audience members should be invited to revisit the operas they have seen many times. For the most part, I was surprised and happy with these second, third, fourth casts, and for the most part, these seasons usually surpass the usual seasons that caught the attention.
Next season, the Metropolis will showcase twenty-one games La Traviata– The only Verdi Opera programming – and Puccini Trifecta’s Twenty, Seventeen and Fifteen LaBohème,,,,, Turandot and Madam Butterfly. While each time offers a premiere of tempting stars, once again, special notes their subsequent cast, such as Feola, Enkhbat and debut of Fat Avetisyan Traviata; Sonya Yoncheva and Elena Stikhina play Cio-Cio-San, the former paired with Quinn Kelsey’s Deluxe Sharpless; and returned to soprano Anna Pirozzi Turandot.
In addition to continuing many of the performances of these standard repertoire works, MET also reveals a new method of scheduling. This season, a Bohème The actor lasted for a few more weeks, even months. But in 2025-26, there are two actors that are often performed in the same week. For example, on March 14, 2026, Yoncheva Butterfly The actor will appear in Matinee and then perform Harakiri at night.
